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Not to add to the deluge of artistic clichés brought on by the Global Event Which Shall Not Be Named, but spending more or less a year in the house offers plenty of time for reflection, reevaluation, and revision. Though there was a lot to process already in those months, it was an opportune time to try and get your shit together, whatever that may mean for you. For Jakob Armstrong—in addition to many other things like the rest of us—part of it meant fine- tuning a collection of songs first recorded in late 2019. A prolonged process leading to five of the seven songs on Get Yourself a Friend retooled into their better-than-even final form. Jakob Armstrong—youngest son of Green Day frontman Billie Joe—began playing guitar at seven years old and honed his craft privately until about sixteen, playing in bands in and around Oakland after meeting friends with like-minded tastes in music. Soon enough, with the memories of Ultraman action figures fighting in his mind, he and a group of friends he cultivated from those years playing around and pouring over records, formed Ultra Q (its name inspired by an Ultraman prequel series). Opening double-shot “Pupkin” and “It’s Permanent” soar to the heights of Ultra Q’s powers in much different ways; the former a black-clad romp through a rainy graveyard, the former pushing straight to the clouds with its soaring chorus. “Straight Jacket” veers pleasantly close to the jangle-pop of the Go-Betweens. “Bowman” features guitars like cats getting into a scratch-fight while an astoundingly metronomic drumbeat is played live rather than punched out on a beat pad. Closing the EP is its title track, an affecting end credits anthem full of nostalgia and a twinge of regret. As a whole, Get Yourself a Friend marks the synthesis of a songwriter’s vision and his band’s ability, forged through an invisible existential threat and an ever-changing world, eager to show what they’ve found while we were all inside

Lia Ices was pregnant with her first child when she started writing her forthcoming record, Family Album, a stunning collection of psychedelic-tinged Americana. She was living with her husband, a wine-maker, on Moon Mountain in Sonoma, CA, where she walked from house to studio through a rose garden with an orchard at its center every day to sit at her piano and see what fell out. It was a “total Eden,” Ices describes. “I got pregnant in January, and Una was born in September, so I was on the same ripening mode as all the fruit.” “This album is terroir,” she says, using a wine-making term used for the complete natural environmental factors that make something taste the way it does. Fully, spiritually connected to the soil on which it was made, to the air Ices breathed. Ices hasn’t released music for six years, since her last album, Ices, in 2014. It’s been a long personal journey to get to Family Album, which she’s putting out on her own label, Natural Music. The first song Ices wrote for Family Album was “Young on the Mountain,” a breezy folk-rock track about life and death and freedom that’s the album’s highest energy. “The more real life gets, the more mystical it feels,” she explains. This idea reaches throughout the album, like on “Anywhere At All,” which is essentially an ode to “how psychedelic it is to be a first time mother,” Creating a life and creating this record at the same time is only part of the story. Those two acts also brought Ices closer to who she really is, and to the music she’s supposed to make. There’s a holistic energy around Family Album, epitomized by the opening track, “Earthy,” a gorgeous, dynamic song that begins with Ices solo on the piano, and midway through becomes a total psych-Americana jam. Though it starts the album off, even by the end it’s clear this is the record’s centerpiece, both its introduction and its heart; she sings about the Muse, about life and death, about both being here and giving herself away in order to find herself. She worked with producer JR White (Girls) all over California: three studios in LA, one in Stinson Beach, and one in San Francisco. Ices describes White as a “Brian Wilson type” with a singular mastery over gear; she says even just the way he rigged the mic while she was singing allowed her to get some of her best-ever vocal performances. And for the album’s accompanying visuals, she entrusted good friend and filmmaker Conor Hagen to follow her and her band around the west coast of California on tour over the course of 9 months for the album’s first single ‘Hymn’, as well as director Aaron Brown (Cass McCombs, Arctic Monkeys) to help her make the aura-themed video for the record’s title track. Ices says of Family Album. There’s a “universal timing” to this record that it’s had since its beginning, with Ices’ ripening. “It keeps being a teacher to me, it has its own energy field around it.”

Old school friends and long-time collaborators, Mark Rowland and Paul Webber formed The Volunteered at the tail end of 2019 when they started working on new songs channeling old indie rock heroes such as Built to Spill, Guided By Voices, Neutral Milk Hotel, and Belle and Sebastian. They put out the ‘We Fall Apart’ EP in 2020 as a modest self-release and now, what started as a way to keep busy during lockdown has been expanded into a full-length vinyl and digital album, out on Scratchy Records next February. “We had the vague notion of recording an album at some point in 2020” says Mark “and we definitely intended to play more shows. We were talking to people about joining the band. It was supposed to be a big year for us.” Then the pandemic happened. Mark got COVID and was sick for more than a month, leaving him with breathing issues and a fear that he may not sing again. Stuck indoors with all plans put on ice, Mark and Paul went through their demo recordings to see what they had to work with. They took elements of those recordings, added to them, and started working on some new songs. The process was challenging as Mark was still building up his vocal strength, but they muddled through, working on each song remotely. Along the way, they recruited some friends to guest on the record, including future Volunteered member Elizabeth Sadzik, Detroit-based singer-songwriter Cody Ketchum, René Methner of German indie rock band Para Lia, solo artist Ritch Spence and Simon Bromide. It was Simon, Scratchy Records founder, who persuaded the band to make the new material into a full album having fallen head over heels for the song he guests on, Going to Amsterdam, which is released as a single on January 14th 2022. “I thought Going to Amsterdam would make a great single on Scratchy” he says. "But the more songs I heard, the more I liked, and after talking to Mark it was clear that we could make it into a full album” Mark and Paul recorded three additional songs for the album in 2021. At the same time, the full Volunteered line-up was completed with Sadzik on piano, her husband Jake on bass and Paul Douglas on drums. The sound too was broadening, with more piano being incorporated into its newest songs. The final version of We Fall Apart was completed in Autumn 2021. It’s a varied listen, from the pounding, tuneful fuzz of lead single Going to Amsterdam to the atmospheric heart-string puller The Lights. Everywhere you look there are hooks waiting to pull you in and some great pop songwriting recalling everyone from Buddy Holly and Weezer to The Triffids and Pearl Jam. For fans of: Sparklehorse, Built To Spill, Guided by Voices, Big Star, REM and Neil Young.

New limited pressing on 180g Electric Blue Vinyl. L.A. Witch’s self-titled debut album unfurled like hazy memories of late-night revelries in the city center creeping back in on a hungover Sunday morning. Guitarist/vocalist Sade Sanchez purred and crooned over jangling guitar chords, painting pictures of urban exploits, old American haunts, and private escapades with a master’s austerity. Bassist Irita Pai and drummer Ellie English polished the patina of the band’s vintage sound, adding a full-bodied thump and intoxicating swing to the album’s dusty ballads, ominous invitations, and sultry rock songs. The album had an air of effortlessness like these songs were written into the fabric of the Western landscape by some past generation and conjured into our modern world by three powerful conduits. The band readily admits that L.A. Witch was a casual affair and that the songs came together over the course of several years. That natural flow hit a snag when the band’s popularity grew and they began touring regularly, so a new strategy became necessary for their sophomore album, the swaggering and beguiling Play With Fire

In 2006, Jimmy Hunt (then a proverbial punk-troubadour usually found in bars) and Ysael Pepin (bassist for Demon's Claws) started to jam here and there in one of the rooms of an apartment located above the late Zoobizarre in Montreal. Brian, Martin, and Dale eventually joined and the quintet recorded their first garage EP in two winter afternoons. Going against the ebb and flow of indie-pop, receiving praise in both languages all over Canada (La Presse, Exclaim!, Voir), Chocolat participated in the Francofolies de Montréal in 2007 and, in 2008, they were one of the first bands signed on a new label named Grosse Boîte, the French section of Dare To Care Records. They went on to release their first album, Piano élégant, which was met with great acclaim. It featured Beatle- esque melodies, a clearer sound and an addictive chanson side. During the two years that followed, between disheveled yet jolly efficient performances, Chocolat strung together shows and insolence, and even performed at the Vancouver Winter Olympic Games. Then, wanting to try something new, the band decided to take a break in the middle of 2010 and Jimmy Hunt eventually released his first solo album. Jimmy and Ysael kept contact and kept playing together, laying the foundations of an abstract project named Fantôme. Then, at the end of 2013, during the Holidays, while on a break from the tour promoting his second solo album, Maladie d'amour, Jimmy Hunt pitched some ideas on his tablet. The few demos he recorded consisted of linear sequences with drawling riffs interspersed with rhythmic breaks and rudimentary electronic effects. Realizing that Chocolat represented the ideal band to play these, Jimmy got the members together and invited his close friend Emmanuel Ethier (Jimmy Hunt, Cour de pirate) to replace Dale who had left for Europe. After only 3 practices, Jimmy booked the Victor studio in January 2014. For a few days, the guys recorded live and full band. In general, they stuck to the second or third take for each of the tracks. This allowed them to take advantage of the spontaneity of Ysael and Brian's garage games played on the mechanical tracks composed by Jimmy. As spring blossomed and schedules filled up, the guys managed to remotely mix what would become Tss tss, an album recorded between friends, a pop dump of white heat, a discharge of hypnotic rock, and, still under the Grosse Boîte label, an essential tool to hit the roads and travel across Quebec again.

Recorded at the famous Paradiso in Amsterdam, “Live In The Lowlands” catches Willy DeVille and his band, Mink DeVille, at their very best during the tour in support of his album ‘Crow Jane Alley’.
This record features classic tracks such as ‘Cadillac Walk’, ‘Savoir Faire’, ‘Come A Little Bit Closer’, ‘Slave To Love’ and ‘Spanish Stroll’, all delivered in Willy DeVille’s unique musical style and in front of an enraptured full house. For the first time ever, this concert will be made available on vinyl and truly be a wonderful gem in every fan’s music collection.

Annie Booth is an Edinburgh-based artist with a gift for mood-painting
and storytelling - A seasoned modern folk singer, performer and
songwriter - with a fair for the nostalgic and the melancholy - she wields
a unique voice in Scotland, bridging genre and infuence with ease, her
restless live performance and songs never cease to capture the listener
with their haunting melodies and infectious arrangements
Recorded over several months at Chem19 Studios and Green Door Booth's debut
album An Unforgiving Light (Last Night From Glasgow/ Scottish Fiction) was
released in 2017 to critical acclaim. It was lauded as Roddy Hart's Record of Note
(BBC Radio Scotland), featured in Vic Galloway's Best Albums of 2017 (BBC
Radio Scotland) and was praised by Jim Gellatly (Amazing Radio). 2018 saw her
perform at the BBC's Quay Sessions and festivals such as XpoNorth, Celtic
Connections and the Kelburn Garden Party.
Adopting a more introspective and atmospheric approach, Booth's 2019 EP
Spectral (Last Night From Glasgow/ Scottish Fiction) displays her poignant
lyricism and haunting vocals at their most raw. The EP was championed by BBC
Radio Scotland, The Skinny and The List, with Booth appearing for a live session
on the BBC's Janice Forsyth Show. Booth was subsequently nominated for a
Scottish Alternative Music Award in the Best Acoustic category late 2019.
The singer-songwriter is also known for her enthusiasm for collaboration. From
2015 to 2020 she performed backing vocals and guitar with prolifc dark- folk
collective Mt. Doubt, touring across Scotland, England and Wales and recording
on numerous records. 2020 saw the release of Clean Living (Last Night From
Glasgow) under the moniker Slow Weather: a vintage-infused EP of alt-rock cowritten with producer extraordinaire Chris McCrory. The release garnered praise
and spins from Steve Lamacq (BBC Radio 6), BBC Radio Scotland and Amazing
Radio as well as features and airplay in the US. Over the years Booth has also
collaborated on tracks with artists such indietronica outft Out of the Swim and
indie pop quintet Wojtek the Bear.

Annie Booth is an Edinburgh-based artist with a gift for mood-painting
and storytelling - A seasoned modern folk singer, performer and
songwriter - with a fair for the nostalgic and the melancholy - she wields
a unique voice in Scotland, bridging genre and infuence with ease, her
restless live performance and songs never cease to capture the listener
with their haunting melodies and infectious arrangements
Recorded over several months at Chem19 Studios and Green Door Booth's debut
album An Unforgiving Light (Last Night From Glasgow/ Scottish Fiction) was
released in 2017 to critical acclaim. It was lauded as Roddy Hart's Record of Note
(BBC Radio Scotland), featured in Vic Galloway's Best Albums of 2017 (BBC
Radio Scotland) and was praised by Jim Gellatly (Amazing Radio). 2018 saw her
perform at the BBC's Quay Sessions and festivals such as XpoNorth, Celtic
Connections and the Kelburn Garden Party.
Adopting a more introspective and atmospheric approach, Booth's 2019 EP
Spectral (Last Night From Glasgow/ Scottish Fiction) displays her poignant
lyricism and haunting vocals at their most raw. The EP was championed by BBC
Radio Scotland, The Skinny and The List, with Booth appearing for a live session
on the BBC's Janice Forsyth Show. Booth was subsequently nominated for a
Scottish Alternative Music Award in the Best Acoustic category late 2019.
The singer-songwriter is also known for her enthusiasm for collaboration. From
2015 to 2020 she performed backing vocals and guitar with prolifc dark- folk
collective Mt. Doubt, touring across Scotland, England and Wales and recording
on numerous records. 2020 saw the release of Clean Living (Last Night From
Glasgow) under the moniker Slow Weather: a vintage-infused EP of alt-rock cowritten with producer extraordinaire Chris McCrory. The release garnered praise
and spins from Steve Lamacq (BBC Radio 6), BBC Radio Scotland and Amazing
Radio as well as features and airplay in the US. Over the years Booth has also
collaborated on tracks with artists such indietronica outft Out of the Swim and
indie pop quintet Wojtek the Bear.

"The Beast Within" is the new album by Brazilian artist, Diego Garcia; exploring gender identities within contemporary electronic music. The artist uses two of their distinguished artistic identities: The Princess of Death, her feminine identity - where there is an exploration of a more introspective and corrosive textures commonly associated with patriarchal values; and Projekt Gestalten, his masculine identity - where melodic and hypnotic sounds, often associated with matriarchy, are emphasized.

In this project, Diego's aim is to dichotomize their gender identities inspired by a point-and-click adventure game from the 90's called "Gabriel Knight 2 - The Beast Within". The story was written by American game designer, Jane Jensen with original music composed by her husband, Robert Holmes. The protagonist is on the trail of a strange wolf, murderer of a little girl. Gabriel was asked to take care of this evil and suspects that this case is paranormal in nature. Together with his assistant, Grace Nakimura, he discovers the dark truth behind the history of Bavaria. The gameplay alternates between Gabriel and Grace and its storyline is only explored indirectly by Diego - as it is deeply connected with their childhood and formative years and still remains as one of their all-time favorite games.

Just like in the gameplay, Diego alternates between both of their feminine and masculine identities in order to create original pieces of music. As Projekt Gestalten, an array of dance tracks are functionally presented; ranging from melodic and trippy to club-ready driving techno; dissecting a more rational aspect of the game's storyline. In contrast, The Princess of Death goes into an ambient and experimental approach; exploring liturgical themes that includes a dark and dystopian cover of the traditional gospel song "When The Saints Go Marching In", a song that is featured throughout the whole franchise of the game in many different versions. In the end, the gender polarizing concept is extrapolated and both aliases are finally merged into one another; leading to the Gestalt principle, alluded to in Diego's main alias, being fully applied as a whole.

The project's ultimate goal is to challenge preconceived notions of how a specific gender should sound/behave and to explore light/dark, sacred/secular, good/evil, male/female using, as the blueprint, a gender-neutral game where the player is forced to assume a feminine and a masculine role in order to navigate through the story. All of these ideas are perfectly aligned with Diego's own trajectory as an artist and their distinct artistic identities featuring distorted gender values - which comes full circle in this project.

Bristol-based singer, songwriter and bandleader, who has powered her
way to the-forefront of the British blues and roots scene in recent years,
unveils her eagerly-awaited third album 'Shining in the Half Light'
Crammed with vibrant originals brought to life with her A-list touring band, it's yet
another significant step forward in a career already feted with awards and
acclaim.'Shining in the Half Light' is Bailey's first full length album recorded in the
UK & feature's Joe Wilkins on Guitar, Jonny Henderson on Ivories, Matthew Waer
on Bass duties and Matthew Jones on drums. It was recorded in deepest Devon
in December 2020 at Middle Farm Studios and produced by Dan Weller, best
known for his long working relationship with Enter Shikari. Elles wanted this
record to feature 'gospel style vocals' so in steps Izo Fitzroy, an incredible artist in
her own right, who arranged the stunning background vocals on 'Shining In The
Half Light', and performed them alongside Jade Elliot and Andrusilla Mosley.
An exciting team of co-writers feature with three credits for Ashton Tucker & Will
Edmunds, who both wrote with Elles for 'Road I Call Home', plus she teamed up
with longtime guitarist Joe Wilkins to write the slow-flowing, philosophical 'Riding
Out The Storm'. Other kindred spirits include guitar maestro Martin Harley, for the
gentle and romantic 'Different Kind Of Love' and Matt Owens, co-founder of the
hugely successful indie- folk outfit Noah and the Whale, on the aforementioned
'Sunshine City'. The album comes to a striking conclusion with its title track, cowritten with Nashville's Craig Lackey, written over Zoom in May 2020.
Front cover features in Blues in Britain (Jan) and MNPR (May) Features in Record
Collector, Rock and Reel, Blues Matters, HRH Magazine, Fireworks Mag,
Powerplay, and Maverick
Reviews in Record Collector, Maverick, Powerplay,Fireworks,Blues Matters,HRH
Mag
Online press in Music News, Maximum Volume, Rush On Rock, All About The
Rock, Vents, Bluesdoodles, Rock and Blues Muse,Blues Rock Review, Blazing
Minds, Decibal Report, Maverick Country
Radio- BBC Radio 2 Cerys Matthews and Johnnie Walker, Planet Rock A playlist.

Nach dem Erfolg von 'A Day At The Beach' im Sommer 2020 wollten Airbag die Songs unbedingt live präsentieren. Leider war eine Tour aufgrund der Covid-19-Beschränkungen nicht zu realisieren. Stattdessen ging die Band ins Subsonic Society Studio in Oslo, wo sie auch ihre letzten Studioalben aufnahm, um ein Akustik-Set aufzuführen, das dann im Frühherbst 2020 gestreamt wurde. Neben akustischen Versionen von drei Songs aus 'A Day At The Beach' und den Klassikern 'Colours' und 'Sounds That I Hear' enthält diese Veröffentlichung den bisher unveröffentlichten Song
'Come on In' als Bonus. Das CD+DVD-Set enthält natürlich die komplette Session auch als Film.
Eine wertig ausgestattete 2LP-Version (180 Gr. Clear Vinyl) wird dann Ende Januer erscheinen.
Für Fans von Pink Floyd, Porcupine Tree und Marillion u.a.

First Word Records is very proud to present you with 'Peace + Harmony'. The first EP from our most recent signing, K S R .

Hailing from Moss Side, Manchester, this young talent has been steadily building a rep for himself over the past few years as one of the UK's most exciting soul vocalists, with his releases encompassing an eclectic assortment of alternative R&B, future soul, hip hop and D&B. Influenced by an array of neo-soul artists, such as D'Angelo and Anderson .Paak, his own soulful style has already seen him tour and collaborate with a number of UK peers; working on projects with label-mates Children of Zeus & Australia's REMi, and supporting the likes of Etta Bond & The Mouse Outfit, as well as performing sell-out headline solo shows in Manchester and London, and playing various festivals across Europe, including the We Out Here festival very recently.

Since he began developing his music in 2017, K S R has had support from the likes of 1Xtra, BBC Radio 1, BBC Introducing, Mixmag, NTS, Reprezent, Unity & Soho Radio, in addition to featuring on a slew of D&B tracks with artists like Lenzman, BCee, Emba & Redeyes. The collab with Emba was recently named a 'Kiss FM Future Selection' courtesy of Hybrid Minds and features have been supported on Spotify's 'New Music Friday' and 'Mandem - Kings' amongst others. His debut release 'Unfiltered' appeared on Polarface Records in 2019, which was followed by single 'Flex With Me' (also produced by Tyler Daley from Children of Zeus) then an independent second EP, 'Take Control', followed in late 2020 (during the pandemic) which amassed over 500k streams. Additionally to the releases, he was recently recruited by Manchester United as part of their 21/22 season kit announcements, as well as working with Nike and Size? on a special MCR-themed Air Force 1 release.

It's now time for a new extended project from Roosevelt Kazaula Sigsbert - better known as K S R . 'Peace + Harmony' is a solid set of alternative R&B, produced by Dom Porter and mixed by Eric Lau. Six tracks in all, including the single, 'Harmless' (which received support from the likes of Mr. Scruff (Worldwide FM), BBC Manchester and Victoria Jane (BBC Radio 1), was 'Track Of The Week' on 1Xtra/BBC Introducing, and saw the video racking up several thousand plays in its first weekend) and follow-up 'CGWY' featuring Children of Zeus on a brand new interpretation of their classic track 'Get What's Yours'. From the intro track 'I Wonder', to the downlow future soul of 'Lily Apart', to the autobiographical vibes of 'Born In '98', to the closing track 'Given Summer', also featuring the vocals of Ayeisha Raquel, each track on the EP is of course laced with Roosevelt's unmistakable silky smooth vocals, and is set to join his already impressive catalogue of underground soul classics such as 'Alien Boo', 'Stylin' and 'New Love'.

K S R says "my third EP, P E A C E + H A R M O N Y is a collection of my thoughts and experiences from my journey throughout the last two years of my life. Lots of aspects of my life changed over 24 months, along with everyone around the globe. When we were thrown into the unknown at the start of 2020, I stepped away from music for a while as I couldn't find any peace in my creativity and needed to evolve. I finally started to feel cohesive with my songwriting and music, and I could feel harmony between myself and my art once again."

'Peace + Harmony' by K S R is released on vinyl & digital on First Word Records, late 2021.

BIOHAZARD formed in Brooklyn in 1988 and soon after released their first demo. The band consisted of founding members Billy Graziadei (vocals, guitar), Bobby Hambel (lead guitar) and Evan Seinfeld (vocals, bass). After the release of their second demo in 1989, drummer Anthony Meo left the band and drummer Danny Schuler replaced him. BIOHAZARD released their combined the urban sounds of hard-core, metal and rap with scorching lyrics describing the forces at work in our modern urban lives. With an impressive career spanning over 20 years with 10 albums (on both indie and major labels), the band sold over 5 million records. In 1990, Biohazard signed a recording contract with Maze Records. The band's self-titled debut album was poorly promoted by the label and sold approximately 40,000 copies. The album's subject matter revolved around Brooklyn, gang-wars, drugs, and violence.

In 1992, Biohazard signed with Roadrunner Records and released Urban Discipline, which gave the band national and worldwide attention in both the heavy metal and hardcore communities. The video for the song "Punishment" became the most played video in the history of MTV's Headbanger's Ball, and the album sold over one million copies. The band also began opening for larger acts such as Pantera, Suicidal Tendencies, House of Pain, Fishbone, and The Cro-Mags. In 1993, the hardcore rap group Onyx brought on Billy Graziadei for an alternate "Bionyx" version of their hit single "Slam" with Biohazard as their backup band. This led to a collaboration on the title track of the Judgment Night soundtrack. The soundtrack would go on to sell over two million copies in the United States. Months later, the band left Roadrunner Records and signed with Warner Bros. Records Inc. who released their third studio LP, State of the World Address. The album was produced by Ed Stasium in Los Angeles and contained the single "How It Is" featuring Sen Dog of Cypress Hill, for which a video was also shot. During their 1994 tour, the band made an appearance on the second stage at the Monsters of Rock festival held at Castle Donington. State of the World Address went on to sell over one million copies, and Rolling Stone magazine selected the Biohazard logo as the best logo of the year.

This was the last Biohazard album with Bobby Hambel, who left due to differences with the rest of the band. The band recorded their fourth studio album, Mata Leao, as a three piece in 1996. It was produced with the help of Dave Jerden. For the 1996-97 Mata Leao Tour, former Helmet guitarist Rob Echeverria joined the band. The band also played on the Ozzfest mainstage alongside Ozzy Osbourne, Slayer, Danzig, Fear Factory, and Sepultura. While touring Europe in support of the Mata Leao album, the band recorded their Hamburg, Germany, show for their first live album, No Holds Barred (Live in Europe), which was released in 1997 through their former label, Roadrunner Records. The band signed to Mercury Records and released their fifth studio album, New World Disorder, in 1999, once again with Ed Stasium as a producer.

The relationship with Mercury Records soured quickly as the band felt betrayed and misunderstood by the label. They severed their ties with the label amidst the merger of Mercury Records, Island Records, Def Jam Records, and Polygram into the Universal Music Group. The following year, Biohazard signed two new record deals with SPV/Steamhammer in Europe and Sanctuary Records for the remainder of the world. Despite the new record deals, the band took some personal time in order to work on other projects. Graziadei and Schuler also collaborated in transforming the band's rehearsal Brooklyn studio into a digital recording studio, known as Rat Piss Studios and soon after changed the name to Underground Sound Studios. Re-investing into the band, Graziadei and Schuler honed their engineering and productions skills while recording and producing local acts and new Biohazard demos. The band then undertook the process of writing, recording, and producing their own music. Their studio work led to the band's sixth studio album, Uncivilization, released in September 2001.
The album featured several guest appearances by members of bands such as Agnostic Front, Hatebreed, Pantera, Slipknot, Sepultura, Cypress Hill, Skarhead, and Type O Negative. Shortly after the release of Uncivilization, guitarist Leo Curley left the band and was replaced by former Nucleus member Carmine Vincent, who had previously toured with Biohazard as part of their road crew. The band had to cancel scheduled European festival dates when Carmine Vincent underwent major surgery. The band did manage to find a temporary guitarist, Scott Roberts, formerly of the Cro-Mags and the Spudmonsters, in time to join the Eastpak Resistance Tour with Agnostic Front, Hatebreed, Discipline, Death Threat, Born From Pain and All Boro Kings. Biohazard completed their seventh studio album in seventeen days; Kill Or Be Killed was released in 2003. While touring North America with Kittie, Brand New Sin and Eighteen Visions, Biohazard announced that Roberts would remain as their permanent lead guitarist. The tour was curtailed when it was announced that Seinfeld had fallen ill. With more downtime due to Seinfeld's illness, Graziadei and Schuler collaborated to mix Life of Agony's live comeback album, River Runs Again: Live 2003. Once Seinfeld was healthy again, the band toured Japan and North America, headlining over bands such as Hatebreed, Agnostic Front, Throwdown, and Full Blown Chaos.

By the end of 2003, the band had begun recording its eighth studio album, Means To An End. The completed album was lost in a studio disaster, forcing the band to completely re-record the album, which was finally released in August 2005. In October 2004, Graziadei announced that Means To An End had been the final Biohazard album and that he would continue playing with his new band Suicide City as his main focus. One month later, on the Biohazard website, it was announced that there would in fact be a 2005 Biohazard tour. On December 15, 2005, Seinfeld and Graziadei participated in the Roadrunner United conglomerate event at the Nokia Theater in New York for an all-star event. The show opened with Biohazard's "Punishment," performed by Seinfeld, Graziadei, Sepultura's Andreas Kisser, former Fear Factory member Dino Cazares, and Slipknot's Joey Jordison. Graziadei and Schuler relocated their recording studio to South Amboy, New Jersey and renamed it Underground Sound Studios. The studio was renovated to include a live room with 20-foot (6.1 m) ceilings and 4,000 square feet (370 m2) of studio space. After Schuler's departure from the studio business, Graziadei relocated the studio to Los Angeles and changed the name to Firewater Studios. In January 2008, the classic lineup of Evan Seinfeld, Billy Graziadei, Danny Schuler and Bobby Hambel made the announcement that rehearsals had begun for a 2008 summer tour to commemorate the band's 20th anniversary. They toured Australia and New Zealand in April with Chimaira, Throwdown, Bloodsimple and headliners Korn to celebrate their newly declared reunion. The band also took part in Persistence Tour 2009, and announced at one of their shows that they were working on a new record. Biohazard brought in producer Toby Wright to work on the album and after several months at Graziadei's Firewater Studios in Los Angeles, the band completed their recording sessions. In June 2011, Biohazard announced that Evan Seinfeld had quit the band and Scott Roberts returned to replace Seinfeld for two UK dates but no decision regarding a permanent replacement was made. In January 2012, the band decided that Scott Roberts would remain with the band as a permanent member. The new album, Reborn In Defiance, was released worldwide, with the exception of North America, on January 20, 2012 through the Nuclear Blast label. In support of the album, Biohazard embarked on a short co-headlining tour of Europe with Suicidal Tendencies in the latter half of January 2012. After touring the world in support of Reborn in Defiance, the band entered the studio to work on a new release and after a falling out, Roberts departed the band.

Biohazard remains as it’s core founding members of Graziadei, Shuler and Hambel. Graziadei has since ventured off onto a solo career as BillyBio and teamed up with Cypress Hill frontman Sendog to start Powerflo. Both groups are working on their second releases due out late 2021 and early 2022.

Grand Ancestor 3x7" sales pack including:
* The Illuminated vs. Distant Roots feat. Clinton Sly - Straight To Mi Brain / Straight To Mi Dub GA004
* MC Trooper / Jeph1 - Warrior GA010
* Jane Bee / Bukkha - DJ Mommy GA014

Revelation of the 1st MIDEM in January 1967 with its tile 7h du mat labelled a sixties jewel by Rock & Folk or little gem by La Voix du Nord while Juke Box sees this track as a 60s classic. A must, appreciated by all true connoisseurs - no female French rock compilation is complete without her. Jacqueline Taïeb is a comet, whose songs come back regularly without a wrinkle, every bit as modern.

Limited Edition Turquoise/ Yellow &White Splatter Colour Vinyl 2LP Set. 1500 Units for UK.

Nina Simone’s story from the late sixties to the nineties can be told through her legendary performances in Montreux. Taking to the Montreux stage for the first time on 16 June 1968 for the festival’s second edition, Simone built a lasting relationship with Montreux Jazz Festival and its Creator and Founder Claude Nobs, which uniqueness, trust and electricity can be clearly felt on the recordings. Simone’s multi-faceted and radical story is laid bare on ‘Nina Simone: The Montreux Years’. From Nina’s glorious and emotional 1968 performance to her fiery and unpredictable concert in 1976, one of the festival’s most remarkable performances ever witnessed, the collection includes recordings from all of her five legendary Montreux concerts – 1968, 1976, 1981, 1987 and 1990.

Featuring rare and previously unreleased material from Claude Nobs’ private collection, Nina Simone devotees worldwide will be thrilled by the inclusion of the powerful I Wish I Knew How It Would Feel To Be Free, poignant and fearless Four Women and Simone’s hauntingly beautiful performance of Ne Me Quitte Pas. A spine-tingling version of Janis Ian’s searing and potent Stars, which Simone covered for the very first time during her 1976 Montreux performance, sits alongside her bold and electrifying re-imagine of Bob Marley’s ballad No Women No Cry in 1990. The collection closes with the encore of Nina Simone’s final Montreux Jazz Festival concert and one of Simone’s most-loved and best-known recordings, the exuberant My Baby Just Cares For Me, showcasing the deep and multidimensional facets of Simone’s life and music.

Since their debut in 2017 and the highly acclaimed
latest album ‘No God? No Problem’ (released in
2019,’ Detroit freak rockers The Lucid Furs have
performed over 100 out of state shows, invading
music venues to wash minds with their heavy
blues rock concoctions.
 The band‘s live performances build up with a big,
head bang energy, winding down to sultry blues,
then blasting back into hard rock with a dash of
funk you can’t help but dance to.
 Their new album won’t make any exception. The
band’s heavily grooving talent and soul of the
blues is immediately evident, driven by a vibrant
70’s vintage vibe.
 Their songs embody a culmination of each
member’s early influences, ranging from rock
classics like Alice Cooper and Heart, to Chicago
blues like Howlin’ Wolf and Buddy Guy, to the era
of alternative rock groups like Soundgarden and
Queens Of The Stone Age.
 For fans of All Them Witches, Janis Joplin, Led
Zeppelin, Rival Sons, Cream, Queens Of The
Stone Age, Jefferson Airplane, Blues Pills.
 Red coloured vinyl LP.

Disposable Arts is a concept album by Masta Ace, originally released in 2001. It follows the Brooklyn MC as he is being released from prison and returns home, joining 'The Institute of Disposable Arts', a school in which Ace enrolls after realizing how bad the situation in Brooklyn has become. The songs and skits combine to complete one full story, and they feature guest contributions from Strick, Punchline & Wordsworth, Apocalypse, Greg Nice, Rah Digga, J-Ro, King Tee, Jean Grae and more, plus production by Ayatollah, Paul Nice, Domingo, and more, including tracks from Ace himself.

Soul singer Betty Harris – mainly known for her Jubilee and Sansu recordings – was born in 1939 in Orlando, Florida. As a teenager she worked as a mate for Big Maybelle who encouraged her to start singing. First recording was released in 1962, her major hit was a cover of Solomon Burke’s “Cry To Me” in 1963. Taken at a slower pace, Harris’ rendition turned the song into a Billboard Hot 100 number 23 hit and soon became a deep soul classic. A total of three further singles including a reissue of “Cry to Me” were released on Jubilee with “His Kiss”, which was released on January 4, 1964, another deep soul ballad, reaching the lower part of the Billboard Pop and R&B charts. In 1964, Betty Harris switched record labels to Sansu, a New Orleans label, where she was produced by Allen Toussaint. Her recordings with Sansu produced ten singles and Toussaint raw yet sophisticated Southern soul arrangements behind Harris’ rich, distinctive vocal, are considered prime specimens of the classic soul era. Soul Perfection, originally licensed on UK label Action in 1969 , was in fact a collection of her previous works on Sansu, a rare groove affair rapidly in demand between a crowd of obsessive fans all over the world. Harris retired from performing in 1970 to raise a family and made an occasional return in 2007 with the album Intuition.

Hailing from Rio de Janeiro, Marcela Dias Sindaco is formerly a classical piano and cello player. With early musical influences drawing from experimental German groups like Popol Vuh, Tangerine Dream, and Cluster, her electro productions encapsulate more than one sound palette. In 2021, she released her first EP on DEEPTRAX, and here we have her second gift of huge, thoughtful, vocalized electro ready to be received by heady listeners across the world.

Each track brings together unique pieces that fit into her cohesive vision of electro. There are big bass drums, panned hi-hats, and crunchy bass lines. Stabby pads, punchy piano licks, tantalizing but direct Portuguese vocals, loopy Rhodes progressions, and a touch of acid...bonafide DJ rewind material right here!

RAWAX welcomes John Shima to the Family!
His great debut for us will be out 10th of January on vinyl!
Highly recommended!

DJ Swagger teams up with DJ ÆDIDIAS on four feel good UKG anthems for their first vinyl outing on Bristol label Time Is Now.

Long time friends and collaborators DJ Swagger & DJ ÆDIDIAS join forces on their first full length collaborative vinyl EP, showcasing their love of UK Garage. This killer four track dance disc delves deep into all things feel good and fun, 2-step laden drum sequences meet catchy vocal hooks and pulsating bass tones.

‘Speed Limit’ EP drops January 27th via Time Is Now

Marcel Fengler's IMF begins 2022 with IMF011, the beginning of a new era of the label's outlook, which will combine a focus on new talent, established remixers and a design overhaul.

Belgian artist Milo Spykers is first out of the traps for 2022, with his "Hier & Nu" EP (complete with a remix from Fengler) delivering a four-track punch of modern techno. Spyker's use of dense synths across the EP imbue his tracks with a memorable character that leaps out of the speakers.

From the jagged and oppressive leads of "Hier & Nu" to the outright anthemic riffs of "The Helicity" via the cascading stabs of "Happex", the "Hier & Nu" EP is a boisterous work of controlled chaos. Fengler's remix of "Hier Nu" extracts Spyker's synths, and with clinical precision, reconstructs them around a lean, muscular rhythm track that oozes tension.

"Milo's a very talented young producer. He's got an uncomrpimising taste in techno and that convinced me that he's both a DJ and producer I want to support. I'm really happy to welcome him to the IMF Family." (Marcel Fengler, Jan 2022)

"Rock and metal music have always been a haven for those who have bigger stories to tell; who have grander emotions to convey. For more than thirty years, Finnish figureheads Amorphis have done their best to carve their very own niche in heartfelt yet aggressive, melancholic yet soothing tunes. On “Halo”, their staggering fourteenth studio effort, the Fins underline their trailblazing status as one of the most original, culturally relevant and rewarding acts ever to emerge from the land of the thousand lakes. In the past, mythology and legend took the role of today’s pop culture: Stories and a set of values uniting us by giving us a voice and a tapestry on which we can find each other and identify with something. By weaving the tales of Finnish national epos “Kalevala” into their songs and interpreting them in a timeless way, Amorphis combine the role of ancient minstrels and luminaries of the modern world, honouring tradition without getting stuck in the past. The vibrant, lively, and touching beauty that is “Halo” highlights their musical and storytelling mastership on a once again soaring level: It’s a progressive, melodic, and quintessentially melancholic heavy metal masterwork plucked from the fickle void of inspiration by original guitarists Esa Holopainen and Tomi Koivusaari, bassist Olli-Pekka Laine, drummer Jan Rechberger, longtime keyboardist Santeri Kallio and vocalist Tomi Joutsen, the band’s long-standing lyrical consciousness Pekka Kainulainen and a selected group of world class audio professionals led by
renowned Swedish producer Jens Bogren. Considering the band’s prolonged journey in the forefront of innovative metal music, it’s difficult to grasp how Amorphis manages to raise the proverbial bar time and time again, presenting a more than worthy finale to the trilogy begun with 2015’s “Under the Red Cloud” followed by 2018’s “Queen of Time.” “It really is a great feeling that we can still produce very decent music as a band,” says Holopainen, a founding member of the band. “Perhaps a certain kind of self-criticism and long experience culminate in these latest albums.” To the songwriter himself, “Halo” sounds both familiar and different. “It is thoroughly recognizable Amorphis from beginning to end but the general atmosphere is a little bit heavier and more progressive and also organic compared to its predecessor,” he elaborates. Tomi Joutsen, the man with vocal cords capable of unleashing colossal, bear-like growls as well as singing soothing, mesmerising lullabies, adds, “To me, ‘Halo’ sounds a little more stripped down compared to ‘Queen Of Time’ and ‘Under The Red Cloud.’ However, don’t get me wrong: when a certain song needs to sound big, then it sounds very big.” He’s right, of course: By stripping down some of the arrangements, the monumental moments become even more monumental. That’s of course also thanks to producing renaissance man Jens Bogren who harvested the thirteen final tracks from a batch of thirty songs Amorphis offered him. “Jens is very demanding, but I really like to work with him,” says Holopainen. “He takes care of the whole project from start to finish, and he allows the musician to focus on just playing. I may not be able to thank Jens enough. Everything we’ve done together has been really great, and this co-operation has carried Amorphis significantly forward.” Indeed. Setting off with the stormy grandeur of opener “Northwards,” Amorphis take us on an epic journey through the lands of the north, their rich cultural and historical heritage and musical traditions. This is not only an album for fans or metal connoisseurs. It’s a must for every imaginative mind out there with a soft spot for cinematic soundscapes, triumphant melodies and breathtaking dynamics measuring the borderlands of light and dark. However, no Amorphis album would be complete without the imaginative and poetic storytelling of renowned lyricist and “Kalevala” expert Pekka Kainulainen. “From day one, Pekka has always been an enthusiastic and prolific lyricist for Amorphis,” says Joutsen. “It is a slow process of translating archaic Finnish poetry into English and adapting it our progressive rhythms. Fortunately, Pekka does everything on time and with great care.” Since 2007’s “Silent Waters,” Kainulainen has been navigating the mythological waters of his homeland with great skill and respect. For “Halo,” he outdid himself once again. “‘Halo’ is a loose themed record filled with adventurous tales about the mythical North tens of thousands of years ago,” he explains. “The lyrics tell of an ancient time when man wandered to these abandoned boreal frontiers after the ice age. While describing the revival of a seminal culture in a world of new opportunities, I also try to reach the sempiternal forces of the human mind.” Thirty-one years after their inception, with uncounted global tours under their belt and fourteen albums deep in their career, Amorphis still proves to be the musical fountain of youth, an extraordinary band constantly reinventing itself without abandoning its mystical roots. With “Halo”, they deliver an astonishing album that deserves to be played everywhere, transcending the realms of metal and rock by its sheer profoundness and musicality."

"Rock and metal music have always been a haven for those who have bigger stories to tell; who have grander emotions to convey. For more than thirty years, Finnish figureheads Amorphis have done their best to carve their very own niche in heartfelt yet aggressive, melancholic yet soothing tunes. On “Halo”, their staggering fourteenth studio effort, the Fins underline their trailblazing status as one of the most original, culturally relevant and rewarding acts ever to emerge from the land of the thousand lakes. In the past, mythology and legend took the role of today’s pop culture: Stories and a set of values uniting us by giving us a voice and a tapestry on which we can find each other and identify with something. By weaving the tales of Finnish national epos “Kalevala” into their songs and interpreting them in a timeless way, Amorphis combine the role of ancient minstrels and luminaries of the modern world, honouring tradition without getting stuck in the past. The vibrant, lively, and touching beauty that is “Halo” highlights their musical and storytelling mastership on a once again soaring level: It’s a progressive, melodic, and quintessentially melancholic heavy metal masterwork plucked from the fickle void of inspiration by original guitarists Esa Holopainen and Tomi Koivusaari, bassist Olli-Pekka Laine, drummer Jan Rechberger, longtime keyboardist Santeri Kallio and vocalist Tomi Joutsen, the band’s long-standing lyrical consciousness Pekka Kainulainen and a selected group of world class audio professionals led by
renowned Swedish producer Jens Bogren. Considering the band’s prolonged journey in the forefront of innovative metal music, it’s difficult to grasp how Amorphis manages to raise the proverbial bar time and time again, presenting a more than worthy finale to the trilogy begun with 2015’s “Under the Red Cloud” followed by 2018’s “Queen of Time.” “It really is a great feeling that we can still produce very decent music as a band,” says Holopainen, a founding member of the band. “Perhaps a certain kind of self-criticism and long experience culminate in these latest albums.” To the songwriter himself, “Halo” sounds both familiar and different. “It is thoroughly recognizable Amorphis from beginning to end but the general atmosphere is a little bit heavier and more progressive and also organic compared to its predecessor,” he elaborates. Tomi Joutsen, the man with vocal cords capable of unleashing colossal, bear-like growls as well as singing soothing, mesmerising lullabies, adds, “To me, ‘Halo’ sounds a little more stripped down compared to ‘Queen Of Time’ and ‘Under The Red Cloud.’ However, don’t get me wrong: when a certain song needs to sound big, then it sounds very big.” He’s right, of course: By stripping down some of the arrangements, the monumental moments become even more monumental. That’s of course also thanks to producing renaissance man Jens Bogren who harvested the thirteen final tracks from a batch of thirty songs Amorphis offered him. “Jens is very demanding, but I really like to work with him,” says Holopainen. “He takes care of the whole project from start to finish, and he allows the musician to focus on just playing. I may not be able to thank Jens enough. Everything we’ve done together has been really great, and this co-operation has carried Amorphis significantly forward.” Indeed. Setting off with the stormy grandeur of opener “Northwards,” Amorphis take us on an epic journey through the lands of the north, their rich cultural and historical heritage and musical traditions. This is not only an album for fans or metal connoisseurs. It’s a must for every imaginative mind out there with a soft spot for cinematic soundscapes, triumphant melodies and breathtaking dynamics measuring the borderlands of light and dark. However, no Amorphis album would be complete without the imaginative and poetic storytelling of renowned lyricist and “Kalevala” expert Pekka Kainulainen. “From day one, Pekka has always been an enthusiastic and prolific lyricist for Amorphis,” says Joutsen. “It is a slow process of translating archaic Finnish poetry into English and adapting it our progressive rhythms. Fortunately, Pekka does everything on time and with great care.” Since 2007’s “Silent Waters,” Kainulainen has been navigating the mythological waters of his homeland with great skill and respect. For “Halo,” he outdid himself once again. “‘Halo’ is a loose themed record filled with adventurous tales about the mythical North tens of thousands of years ago,” he explains. “The lyrics tell of an ancient time when man wandered to these abandoned boreal frontiers after the ice age. While describing the revival of a seminal culture in a world of new opportunities, I also try to reach the sempiternal forces of the human mind.” Thirty-one years after their inception, with uncounted global tours under their belt and fourteen albums deep in their career, Amorphis still proves to be the musical fountain of youth, an extraordinary band constantly reinventing itself without abandoning its mystical roots. With “Halo”, they deliver an astonishing album that deserves to be played everywhere, transcending the realms of metal and rock by its sheer profoundness and musicality."

In their 50th anniversary year, pioneering godfathers of Afro-beat, Osibisa reached out to global icon, Louie Vega, to bring a fresh collaboration to their new release, ‘Yo Luv Is Betta’, taken from their 2021 studio album ‘New Dawn’. Vega instantly pulled in right-hand-man, Josh Milan (keyboardist and co-remixer) and together they brought justice to this mighty track, with The Celebration Mix & Expansions NYC Dub release coming January 14, 2022 at all Digital Outlets and on February 11, 2022 on Vinyl.

Written by Osibisa front man, Gregg Kofi Brown, the track was inspired by the passing of Afrobeat legendary drummer, Tony Allen, and features vocals from Ghanaian vocalist, Ssue. Steeped in voluptuously rich vocals, ‘Yo Luv Is Betta’ serves-up a delicious melodic cocktail of afro-beats, flecked with jazz undertones and big-band instrumentals. The remix combines a joy-ride of Afrobeat and Afro / Brazilian house beats & bass groove, sparkled with scintillating sitars, re-arranged horn stabs and the metal tines of a Fender Rhodes.

The Celebration mix and the Expansions NYC Dub is a classic Vega/Milan hot biscuit for dancers worldwide.

First Word Records is very pleased to present a brand new full-length album from Sarah Williams White! Emanating from the "hilly fields of Lewisham" in South London, Sarah Williams White is a singer songwriter, multi-

instrumentalist and producer. Her sound is a unique blend of psych-soul, folktronica and experimental synth-pop.

Sarah released her acclaimed debut album 'Of The New World' on First Word in 2015, which was written, produced and performed by Sarah from her home studio, with the assistance of drummer, engineer & husband, Timmy Rickard. Her projects have seen support from the likes of Lauren Laverne, Tom Ravenscroft, Nemone & Chris Hawkins (BBC 6 Music), Jamie Cullum (BBC Radio 2), FIP Radio, Clash & The Guardian, to name a few, and she's toured the UK with Dan Le Sac vs Scroobius Pip and Golden Rules (Lex). There have been additional collaborations with label-mate Quiet Dawn (on the 2021 compilation / EP 'A Family Affair') and with her brother, Paul White - a revered producer in his own right, with credits including Danny Brown and Sudan Archives.

Following a hiatus, Sarah now brings us her sophomore album, 'Unfathomable'. A project that offers up escapism from the mundane, enticing us to connect with our natural planet in this prevalent time, via the eyes of a new mother.

In her words, Sarah states that the album is "about escape. It's about deflating the ego by looking up to the endlessness of outer space, connecting with the greatness of mother nature, and loving how unfathomable the universe and life itself is".

11-tracks in all, including the recent singles 'Nebula', 'Green' and 'Monsters', this opus sees Sarah's buttery lathing of vocals merged with cutting beats and atypical pop sensibilities across the project, again entirely self-produced from home, defining her as one of the UK's most irresistible DIY psych-soul talents.

With a voice reminiscent of Peggy Lee, tapestried harmony akin to Hiatus Kaiyote, beats fit for Little Dragon, and experimental production evocative of Kate Bush, Sarah Williams White's signature genre-defying sound invites us into a world uniquely hers.

'Unfathomable' is released on vinyl and digital in late January 2022.

Originally released in 1986, the debut album by My Dad
Is Dead is remarkable not only for its strong and varied
material, but also how the aesthetic of MDID’s music was
fully formed and instantly recognizable from the git-go.
Here are the open modal guitar tunings, the primitive
drum machine paired with live drums, the complete
rejection of the pentatonic scale and related 1970s guitar
techniques, and the dry, journalistic language that brings a
distanced, subdued pathos to the harrowing characters and
their situations.
Few artists who traffic in the darker realms of the human
condition do so without some degree of melodrama; Mark
Edwards’s penchant for understatement and distance
brings even more gravity and impact to these songs of lost
souls in a dying city. All these qualities would become
hallmarks of the My Dad Is Dead sound for years to come.
Like Edwards’s next few albums, ...And He’s Not Gonna
Take It Anymore was performed and written entirely by
himself, which only deepens the feeling of isolation that
permeates the album.
This 2021 reissue was remastered by John Golden Sr.
and is a huge sonic improvement over the original pressing
and early ’90s European editions. Best of all, it includes
an entire bonus LP of rare 1985 recordings that were only
issued on cassette at the time. These are raw, primitive
4-track recordings that ooze with post-industrial Cleveland
malaise. They include nine previously unnreleased songs,
and early versions of four songs that were re-recorded for
the album. Fans are certain to find some new favorites here.

Mariana Zwarg represents the third generation of musicians playing and spreading the tradition of "universal music", created by her godfather, the legendary Hermeto Pascoal from Brazil. Mariana is a flautist, saxophonist, composer and arranger and bandleader.

In 2016 she formed her "Sexteto Universal", uniting musicians from 5 different countries and toured the project regularly in Europe and Brazil.

"Nascentes" is Zwarg's debut album and her first solo project. It was recorded between Rio de Janeiro and Berlin at the tail-end of 2019, just before the first cases of Covid-19 were reported. There are 10 tracks in total: 8 songs composed by her, a theme by Hermeto Pascoal and a theme by Itiberê Zwarg, who are also the album's special guests.

“Some Kind Of Paradise” is an organic record, a genuine piece of music with an actual heartbeat, recorded and produced by Emma Elisabeth herself together with some of her closest collaborators. “I just don't want to use my head too much,” she muses. “I try to be as heartfelt as possible. I love music that doesn't try to be too intelligent just for the sake of it.” Influenced by the pantheon of classic artists like Fleetwood Mac or Patti Smith, Emma Elisabeth flavors her very own take on archetypal songwriting craft with her love of vocal melodies the way The Mamas and the Papas or ABBA use. Or, as she puts it: “I try to balance out my pop melodies with darker sounds and jangling guitars.” Oh my does she.

Hollis Brown's latest album, 'In The Aftermath' (Mascot Label Group/Cool
Green Recordings), is the deliciously depraved outcome of an all-night
rock n' roll riot
The Queens, New York- based quintet escaped to the Poconos to record with a
few handles of whiskey, and, in one 24- hour session, ran down the Stone's
seminal first album of all originals, 1966's Aftermath. Tracked live in the studio
with minimal overdubs, 'In The Aftermath' is potent proof the five-piece group is
one of the last great American rock n' roll bands.'In The Aftermath' is the second
in a casual homage series. Previously, Hollis Brown issued 'Gets Loaded', saluting
Velvet Underground's 'Loaded'. This new album directly follows the band's most
successful release yet, 2019's 'Ozone Park', which earned rave reviews from
Rolling Stone, Billboard, Paste Magazine, Pop Matters, Relix, and Goldmine.

Transatlantic’s 4th studio album Kaleidoscope, was released on January 27, 2014, 5 years after their previous release The Whirlwind. The album found the group returning with a couple of long epics including the 25 minute “Into the Blue” and the 31 minute title track that bookended a few shorter tracks including the single “Shine”, the psychedelic rocker “Black as the Sky”, and the somber “Beyond the Sun.” Now the album is being reissued as Gatefold black 2LP+CD & LP-Booklet on Feb 4th, 2022.

• Pete Tong shares new Ibiza Classics collaborations EP on 12” Vinyl, Pete Tong + Friends: Ibiza Classics, released on Ministry of Sound.

• Essential sounds of the White Isle reimagined with Kölsch, Riton, Tale Of Us, ARTBAT, Eats Everything, Vula, Becky Hill, Jules Buckley and more

• “Collaborating with the Heritage Orchestra and GRAMMY-winning conductor and composer Jules Buckley has been a match made in Balearic heaven.” – Mixmag

• Latest single Love Can’t Turn Around has spent a month on the Radio 2 playlist including two weeks on the Radio 2 A List (Jan 2022).

• Further Radio support for the EP including from tastemakers Radio 1 Danny Howard, Sarah Story, Pete Tong, Charlie Hedges

• Pete Tong completed his legendary Ibiza Classics tour in November & December 2021 including dates in Brighton, Manchester, Birmingham, Nottingham and two nights at London’s The O2. He has already announced his dates for 2022

Having performed on funk & soul stages at over 50 UK festivals over the last 5 years, Daytoner can't wait to return to promote their forthcoming album and new single, their first release since 2019, written and recorded during isolation in their homes across Cornwall. The first single, released on 28th January 2022 features 2 new tracks 'Time' & 'Keep It Moving' with Lucy's lyrics focussing on the importance of time spent with family and friends when life feels so fragile, backed by the funk-fuelled brass and breaks of her bandmates.

Exclusive first radio play of 'Time' on New Year's Day on The Craig Charles Funk & Soul show on BBC6 Music, followed by a play in his afternoon show on January 5th. Interview with Moss and play of both sides of the single on the David White Show & the Boogie Wonderland show on BBC Radio Cornwall on January 6th & 7th and 'Time' is 'Single of the Week' on his drivetime afternoon show on the station with repeat plays in the week 10-14th Jan.

Soul Jazz Records new ‘Life Between Islands’ collection coincides with the launch of Tate Britain’s exhibition of the same name. This landmark exhibition explores the links between Caribbean and British art and culture from the 1950s to now.

Soul Jazz Records album, sub-titled “Soundsystem Culture – Black Musical Expression 1973-2006,” focuses on the most important Black British musical styles to emerge out of the distinctly Caribbean world of sound systems. The album features an all-star line-up including Dennis Bovell, Shut Up and Dance, Cymande, Digital Mystikz, Brown Sugar, Funk Masters, Janet Kay, Ragga Twins and more.

The album is a lightning-rod journey across Roots Reggae, Jungle/Drum & Bass, Jazz-Funk, Lovers Rock, Jazz, Dubstep and more. Much of Soul Jazz Records’ catalogue comes out of these genres and this album is partly an overview of some of Soul Jazz’s earlier releases (including Digital Mystikz’ long-deleted groundbreaking and now highly-collectible single, ‘Misty Winter’) alongside some choice rare and classic tunes that span over 30 years of sound system culture.

Many of the tracks represent how Black British artists defined their own identity with songs such as Brown Sugar’s righteous ‘Black Pride’, ‘I’m In Love with A Dreadlocks’ and Tabby Cat Kelly’s powerful ‘Don’t Call Us Immigrants’. Aside from being musically rooted in the distinctly Jamaican-born phenomenon of the sound system, much of this identity is also shaped by the triangular relationship of being British-born, of Caribbean heritage, and with an equal love of African-American Jazz, Funk and Soul, as evidenced with many Lovers Rock tunes reggae covers of American soul tunes (such as those of Jean Carn, William de Vaughan and Rose Royce featured here). This stateside influence can also be heard in groups such as the Funk Masters, a group formed by reggae radio DJ Tony Williams, whose jazz-funk music successfully crossed over into New York’s clubland, as well as the great Cymande, whose unique street-funk became staple material for numerous US hip-hop artists in the years that followed.

In the early 1990s, jungle and drum and bass artists took the essence of reggae’s soundsystem culture – MCs, dubplates, crews – and applied them to their own music, applying heavy reggae bass lines to intense double-speed drum breakbeats. At the forefront of this new movement were the duo Shut Up and Dance, working closely with The Ragga Twins, aka Deman Rocker and Flinty Badman, both MCs for North London’s infamous Unity reggae soundsytem. In the early 2000s, dubstep, spearheaded by Digital Mystikz, became the latest instalment in this ever-evolving soundsystem culture.

Berlin’s NIKK drops ‘Paradize EP’ on Radio Slave’s Rekids this January.

Fresh from releases on FJAAK’s Spandau20 and Unknown To The Unknown, Berlin-based DJ/producerNIKK prepares to release ‘Paradize EP’, his latest collection of funky yet hard hitting techno cuts for Radio Slave’s Rekids.

Leading the release, title track ‘Paradize’, played to a raucous response at Printworks by Radio Slave,combines meaty drums, emotive chord stabs, and floating breakdowns for a track sure to cause many more memorable club moments. ‘Mylove’ brings punchy bass and sizzling percussion alongside subtle vocal chopsfor a chunky 4/4 number to round off the A side.

On the flip, ‘Flakes’ brings bubbling low end, pumping drum work, and choppy stabs for a pacey slice of breaks-laden techno, before ‘Give A Funk’ brings together swinging percs and rolling synth lines atop glistening pads and leads to close out the release.

Rising UK-talent Guy Mac makes a much-anticipated debut on Hot Creations in January with the Sonic Boom EP. Made up of three original tracks, the release acts as both Guy’s and the label’s inaugural release of 2022.

The title track kicks off proceedings in an outright party fashion, as rampant kicks lay beneath up-tempo hats to set the tone. Reverberating vocals bounce alongside driving synth lines, before we’re soon graced with the stripped-back sounds of Waku Waku. Tribal-laced percussion opens into pulsing, space-like samples, whilst the enthralling chant of “waku waku” shimmers softly throughout. Rounding off the EP is Don’t Stop, another no-nonsense, late-night cut packed full of 4x4 drum patterns that perfectly encapsulates Guy’s hard-hitting, club-ready sound.

Today New York based singer, songwriter and producer Amber Mark announces details of her long-awaited debut album ‘Three Dimensions Deep’, out January 28th via EMI/PMR Records. The announcement of the album is accompanied by a sultry R&B instant-grat track ‘What It Is’ as well as a huge UK, EU and US spring tour announcement including London’s O2 Shepherd’s Bush Empire in March

Amber’s debut album arrives almost 4 years after the release of her second EP ‘Conexão’, an extended process that has proved central to its thematic development. The 17 track album can be divided into three main acts that follow the arc of Amber’s personal and musical development; WITHOUT, WITHHELD and WITHIN. Beginning by acknowledging her insecurities and anxieties before reflecting on her time in denial and spent processing them in all the wrong ways, Amber eventually widens her focus by seeking answers to the world’s negativity and trauma on a cosmic scale. Finding peace and a form of inherent spirituality in the world of astrophysics while writing the album led to a fresh perspective on life and a renewed sense of self. Amber’s debut album is simultaneously a profound concept album and a love letter to herself, richly intertwining messages of self-worth and reflections on the universe beneath a veneer of shimmering pop. In true Amber Mark style, ‘Three Dimensions Deep’ is a kaleidoscopic melting pot of influences and genres, drawing from funk and R&B, soul and hip-hop with international accents influenced by a nomadic childhood spent travelling the world with her late mother.

“Three Dimensions Deep is a musical journey of what questions you begin to ask yourself when you start looking to the universe for answers.” says Amber; “I can only go as deep as the third dimension as that’s how we see the world, but what about when you start looking to the universe within for answers.”

“‘What It Is’ low key is the title track of the album without it actually being the title track” explains Amber; “It comes from going through negative experiences which end up being the gateway to a question I think I’ll be asking for the rest of my life. What is the meaning of life,the universe and everything?”

The three official singles already released from the album ‘Worth It’, ‘Competition’ and ‘Foreign Things’ marked Amber’s first official singles since 2020’s ‘Generous’, though 2020 was still a hugely productive year for Amber. With her hometown of NYC hit hard in the first wave of the pandemic and placed under strict lockdown, Amber turned to her simple home studio to create an acclaimed series of home-produced covers and originals titled ‘Covered-19’, each accompanied by a homemade video and artworks. The series was followed by a collaboration with longtime friend Empress Of on the protest song ‘You’ve Got To Feel’, earning Annie Mac’s Hottest Record, ‘Tune Of The Week’ and a spot on the Radio 1 playlist. Earlier this year Amber was featured on legendary DJ Paul Woolford’s new piano-house track ‘HEAT’, again snagging Annie Mac’s Hottest Record and a long run across the Radio 1 and 2 playlists. Having already amassed over 300 million streams since the release of her breakout debut EP 3:33AM in 2017, Amber has built a global fanbase eager to hear her debut full length -